Philosophical and ideological content of Ivan Ilko’s portrait works

Background. Recently, interest to Ivan Ilko’s works has been growing.

Ivan Ilko is a talented representative of Transcarpathian school of painting, who confidently and devotedly follows its authentic traditions, folk - artistic origins and aesthetic ideals. His portrait works are characterized by philosophical and ideological content, which is manifested in the skillful author's creation of characteristic images and encourages the viewer to reflect on complex issues of human existence. Ilko's philosophical views and his artistic position are reflected mainly in periodicals. In the field of researchers´ view - artistic analysis, general principles of philosophy primarily in line with the requirements of the time, themes, artistic techniques, ethnocultural component in the formation of artistic image. These problems were covered in newspaper publications made by S. Fedaka, J. Baglai M. Matso and others, who mainly focused on thematic paintings and the genre of landscape. The portrait work of I. Ilko is considered in passing and even more so its ideological and semantic aspects remain out of the attention of researchers. Each of the scholars  found his interest in the artist's paintings, noted different aspects of his sound. However, these materials are intended for the general public, so there is more informative information about the life and works of the artist. The authors did not aim at a separate study of the multifocal question of the philosophical and ideological content of I. Ilko's portrait work. Our scientific article is a continuation of the research conducted by these scientists.

Objectives. The aim of the study is to characterize the main philosophical concepts of the artist on the basis of portraits, to explore the specifics of philosophical and ideological understanding of the image of Hutsuls and Verkhovynians as carriers of Transcarpathian history and culture, to reveal artistic, compositional and coloristic features. To find out the main problem of I. Ilko’s portrait creativity, which is to preserve the history of his people for the next generations.

Methods. Based on the analysis of the portrait work, the ideological and semantic content of the works, artistic and stylistic priorities are traced, the circle of the artist's favorite characters is outlined. Deep psychologization and interpretation of the image of Transcarpathian peasants, their worldview is also revealed. The article defines the dialogical nature of the artist's work, which is positioned through the principles of realism and there is a kind of communication between the artist and the viewer. 

Results. The result of the study supports the idea that I. Ilko is an artist of a pronounced philosophical composition. His portrait gallery is marked by original creative handwriting and attracts the viewer's attention with its philosophical and ideological content, which is especially well traced in the images of Transcarpathian peasants. The ethnic markers of the portrait compositions are the authentic attire of the mountaineers, their typical appearance and the Carpathian environment. To understand the ways of forming the artistic and philosophical principles of the artist's work, it is important to trace the process of interaction between the artist and the ethnic group that originated from his ethnicidentification and continues to develop through close ties with ordinary people.

Portrait heritage includes a large number of works by the artist, which can be divided into 4 main series: relatives – a portrait of his nephew  «Contemplated» (1963); «Aunt Melanie» (1965); compatriots – «Peter of Dulove» (1965), «Oksana» (1987); portraits of mountaineers – «Grandfather with grandchildren» (1963), «Peasant from Hrushevo» (1965); a special series dedicated to the artist's mother -  «Mother» (1961), «Always in Wait» (1961). In the philosophical and aesthetic sense of the artist, the Mother is an ideal, a prototype of Madonna. The connection of the image of the Mother of God with the archetype of the Mother is emphasized by the artist primarily on the sacralization of the function of procreation and protection from mortal danger.

  An important source of creative inspiration for the artist has always been travelling to the mountains. Creating a complex system of images, he proves himself as an attentive observer who studies, admires and praises the mountains and the mountaineers themselves. The mature and late stages of I. Ilko’s work are based on previously formed philosophical and ideological views, the source of which is a strong genetic and organic connection with the people. An attempt to reassess the iconic personality, rethinking its role in history has become a necessary component of the work of I. Ilko. The article analyzes the course of figurative thinking of the artist, embodied in the ideas of portrait compositions by means of formal and symbolic-allegorical expression, aimed at establishing the national idea.

Conclusions. We came to the conclusion that one of the dominant figures in the painting of Transcarpathia, a talented and original artist Ivan Ilko develops his portrait work on the basis of his own philosophical and ideological principles. The specificity of the artist's artistic language reflects his worldview and testifies to the processes of formation of the artist's creative personality. After all, his socio-cultural environment contributed to professional growth and formed a master of painting, a man with a high moral position. The works of I. Ilko inspire the viewer and evoke in him a desire for beauty. Which confirms the philosophical concept of the artist, which is based on three main positions: artist – work - spectator. The artistic effect is born only when there is a connection between these three categories.

The themes of the works originated on the ideas of self-sufficiency of the Hutsul and the Verkhovynian, mother’s love and fidelity, courage of the national hero. The philosophical and ideological content of I. Ilko’s portraits reveals the ethnic identity of Transcarpathian people through a retrospective of traditional life and its spiritual culture. The artist's portrait work cannot be understood outside the national context.